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Dvorak brings his symphony to a majestic close.  In two parts due to youtube length limitations.

Like the first movement, the fourth begins not with its main theme but with an introduction. 00:00:47

23. The main theme: an imposing march, introduced by trumpets and trombones, with timpani 00:00:48

24. The main theme, part two. A codetta – like passage closes off the march 00:01:01

25. The ‘transitional’ theme, while outwardly contrasting, is actually a hidden variant of the march. 00:00:53

26. A point of future obsession 00:00:16

27. The second half of this ‘transitional’ theme is given to the winds the strings have finished. 00:00:16

28. The ‘obsession’ takes root, with a ten – fold repetition, before the arrival of the second subject. 00:00:57

29. The hidden traps in sonata – form terminology: ‘second main theme’ vx. ‘second subject’ 00:02:31

30. The unexpected entry and subsequent ubiquity of ‘Three Blind Mice’ 00:01:23

31. We meet the mice again, now in the cellos and double – basses, where they persistently refuse to run. 00:00:36

32. More ‘Three Blind Mice’ material 00:00:30

33. The mice return to the basement, where the bassoons have joined the cellos and double – basses. 00:00:19

34. Next, they are back with the clarinets who pass them back to the cellos 00:00:18

35. Now they return to the high winds, delicately trilling. 00:00:15

36. Relief, at last: the mice back off, making way for a remainder of the main theme from the trumpets. 00:00:34

37. The mice yield to woodpeckers; the main theme is now doubled in speed 00:01:07

38. The triplets of the ‘transitional’ theme are now handed down through strings 00:00:23

39. Reminders of past movements begin to fly by, thick and fast, sometimes very fast. 00:00:28

40. In fact there are three bits of quotation going on here simultaneously. 00:00:23

41. The violas react every time the ‘Goin’ Home’ theme is quoted by the winds. 00:00:35

42. The rhythm of the opening of the ‘Goin’ Home’ theme dominates, transformed by trumpets 00:00:35

43. The march theme reappears as a Mendelssohnian fairy; the main theme from the 1st mov. now returns. 00:01:55

44. We reach an interesting point: have we heard the beginning of the recapitulation, or not 00:01:05

45. Perhaps this is it Back for a reminder of the theme proper, as we first heard it 00:01:41

46. Tovey places the start of the recapitulation here. 00:01:27

47. The main theme recast in pathetic rather than heroic terms – and with magical scoring 00:01:51

48. This unexpected crisis in confidence plays a major role in the overall dramatic impact of the mov. 00:01:49

49. The main theme returns – not complete, but chopped up into shorter and shorter fragments. 00:01:30

50. A glorious thematic stew; high drama, a powerful build – up… but then 00:00:56

51. The dramatic highpoint of the mov., an astonishing transformation, but first, back to the original 00:01:26

52. The same chords again, this time blasted out by the entire wind and brass sections 00:01:09

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